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Rating: Emotionally speaking, half a point less than "Liberty": it is characterized in part by an alluring but excessive sadness, hope is lacking, falls into oblivion, and is never picked up again. Regardless of these "imperfections", excellent album, that delves even deeper into the musical meanders, scraping deeply into the celestial realm until it brings forth divine and angelic sounds that magnificently penetrate the auricular pavilions, and then whirling down to the eardrums and inner ear.
The cover suggests the deep and dark atmospheres musically transcribed on the CD: a magical eclipse moment presumably seen from a spaceship, offering a sensational scientific spectacle concentrated in a simple photograph. It is now obligatory, after analyzing the space-cover, to insert the album into the appropriate slot of the player.
The long journey towards infinity finds its start thanks to very angelic and vaporizing sounds (almost creating the vapor columns of the solar crust) which suddenly give the honor to perform to melancholic, clean chords, played almost artisanally, undergoing various combinations, never boring and pleasant to the ear (almost tickling the outer part of the ear). The name of the track is "I Remember", to which no more suitable title can be assigned: it seems, in fact, that with the help of a single instrument the quite sad and reflective moments (or those happy, based on children’s games) of human life are remembered. In the finale, a bit of Latin blood guitar doesn't hurt, it only closes the piece beautifully.
Voices from paradise, coming from muses of the song, start "Time To Follow". The piano (partially present) runs on a thin magical and pure line. The vocal emissions almost coming from Eden, especially in the chorus, considerably cheer up any soul, even the hardest to sweeten. The best medicine against stress, administered in musical pills. Fairly dramatic sounds, brought to apotheosis by an orienting acoustic guitar and a soft and solemn violin that becomes increasingly recognizable, assuming the role of a supporting character, confer "Wanja The Wanderer" with a very classic and animated tone, then replaced by Arabic flutes which have the upper hand for many seconds. The return to acoustic (this time calmer and more meticulous) is rightful, followed by the violin. The two instruments only reinforce the concept of a deep exploration of the unconscious, which is abundantly satisfied.
An acidic violin that leaves a taste in the mouth forms the backdrop to strongly foreign words pronounced by women of a certain age. This constitutes the first minute and a half approximately of "Ignatia", which immediately after experiences a radical change: incredibly described electronic rhythms sensationally accompanied by the piano that knows a lot more than the devil and manages to always be modern. But beware: there's the return of acidic fiddling and foreign songs, this time, however, surrounded by electronic music. All these sudden yet pleasant changes make the track a real collage of musical genres. Weighty drums give a boost to "While The World Slowly Returns", characterized mainly by clever electric guitar brushing. This will give it a high piano-bar stamp, very romantic, perfect for a candlelight dinner. The guitar has its arches and praises, its peaks and calm moments. Virtuosity certainly does not lack, indeed it is the absolute protagonist in the excellent composition, perhaps the happiest of "Infinity". Mid-piece the piano makes its excellent appearance, expertly tapped, so much so that it possesses a crystalline and calm tone.
The night in the form of sound (muffled, icy, astral rhythms) finds its transposition with "Life Is Beautiful", of a rather unsettling and consistently calm nature, devoid of sound interference. The transport is mandatory, a real journey takes place in the most uncontaminated and flourishing places of space, isolated and veiled in mystery. It's incredible the opening of the subconscious obtained by listening to this particular track. A restless piano, tapping almost as if to imitate a noise of steps constitutes almost a struggle for survival, accompanied by sharp geometric fiddling, which only intensifies "Timestairs" with an anxious and worrying tone, but incredibly (the miracles of New Age) fascinating and slightly hopeful, amidst the great pessimistic masses that prevail almost dictatorially. Pure sources musically converted give life to "Part IV: Black Garden View", accompanied by crystalline and shimmering resonances and a semi-hidden piano, trapped by magical sounds. The instrument is as sci-fi as always and continues to thrill, rising and falling in progression. Tonalities are reached that surpass hope, go drastically beyond, breaking the emotional rule (which is not disliked at all).
Geometric acoustic strumming, taken by the hand by electronics, make "Horizon" a highly exotic composition, further accompanied by the esoteric panflute, always endowed with a raw sound. It is precisely this factor that makes it unique in its kind. A perfect oriental voice affected by vocal undulations is not lacking. How could you then deprive yourself of drums and violins? These two instruments greatly cheer up the atmosphere and leave us freely, by reflex, to imagine a lush landscape, almost a rainforest populated by fascinating animals of a thousand colors.
A wonder of wonders, in the prelude to "Groove Zone" we hear a plate scraping, immediately followed by pure and natural sounds and the protagonist of the track, namely the saxophone, which will carry out its arduous task excellently, namely sprinkling the whole with romance, a bit like "Peace Like A River", remember? (See New Age Infinity). The musical tool is played perfectly and manages to pervade the soul, with its sweet melanucholic melodies, if you're sentimental, subscribed to flattery. The sax is really virtuous, perfect, never smudging, serene, pure, sharp in certain key points. Musical crystals and piano constitute a perfect union for "O Canto De Sereia", accompanied by the diligent acoustic guitar and, an event that rarely occurs in the New Age world, by a real song for sure Brazilian (or Portuguese, you choose), quite cheerful and lively, effectively danceable. A real party of dance and fun is created.
Again solemn paradisiacal voices open a piece, in this case "Moonrise", considerably stuffed with light and rotating bands of electronic music and pure deep experimentation deprived of consciousness, acting in the most remote parts of the brain, thus producing a magical relaxing and healing, almost a worries-relieving effect. Referring to the title, the moon is truly the absolute protagonist, and the track completes perfectly what some tracks of "Liberty" wanted to convey. A sweet flute sound leads "Pilgrimage", which proceeds all the time with pleasant almost ecclesiastic songs, perhaps quite heavy for those who live on Techno and House. Very solemn and purifying, at times accompanied by the crystalline of the fundamental instrument: the piano. This one will be used faintly to fabricate the start of "First Impressions", a purely violinistic piece, arousing a terrible emotion that manages to create a sense of physical and emotional coldness, rather uncomfortable and annoying but slightly pleasant. It is not surprising, it is partially performed by one of the greatest violinists in the world: Yo-Yo-Ma. In the most acute inflections, it is difficult to remain impassive and not feel any emotional state, if not impossible.
The last track, "The Alchemist", a tribute to the piano, playing resentfully and almost futuristic, reflecting on the life we might have in the future, taking the due measures. The instrument finds its exclamations, which partly bring us back to reality and momentarily deprive us of the "Infinity" world, such a fascinating, so sad, but at times so hopeful world, but above all so reflective.
With "The Alchemist" we have reached the end of the recording. From now on it will remain a memory that we will probably always carry with us, so many are the emotions it has given us.
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